동양의 해체주의-로자(老子)

한귀란 ( Kui Ran Han ) 한국기독교어문학회 2010 기독교와 어문학 Vol.7 No.1

The purpose of this study is not to merely compare the deconstruction of Western philosophers, especially that of Derrida, with Laoz in hermeneutic aspect. Nor is the goal of this study to agree to a pointless global unification of human intelligence. It is because of the reason that the character of deconstruction of the two sides is heterogeneous in their nature. Of course, the both sides are found on the idea that any set proposition and elucidatory meaning of language become skeptical at the end. They are language skepticism, anti-logocentrism and also focused their study on the discordance between logic and contents. However, both sides are strikingly different in their nature. The deconstruction of the West is thoroughly concentrated on the semantic aspect while that of the East is much more advanced reaching up to their view of cosmogeny. In this sense, Oriental deconstruction can be called radical deconstruction. It destroys the lingual structure, and more than that does it in their cosmological and ontological concept. Oriental deconstruction therefore, is not only semantic deconstruction but also cosmological and ontological deconstruction. It has been this way throughout the long history of China without having been transformed into another nature. The basic theory supporting that idea is called ``conciliative harmony`` between man and heaven, nature and super nature, being and phenomena etc., anything that is considered contrary to each other. To decode the principle nature, it is in other words, radical deconstruction denying any essential being or preposition behind the nature (self-suchness; 자연(自然)). In this sense Laozi construction can be considered the most aggressive deconstruction.

언론에 나타난 신간회 해체 논쟁의 전개과정

김기승(Kim, Gi-seung) 독립기념관 한국독립운동사연구소 2018 한국독립운동사연구 Vol.0 No.63

이 논문은 1930년 12월부터 1931년 8월까지 신간회 해체를 둘러싸고 신문과 잡지에서 전개된 찬반논쟁을 다루었다. 언론상에 나타난 신간회 해소론 찬반 논쟁은 1931년 4월 이전과 이후 두 시기로 나누어 큰 차이가 나타났다. 1931년 4월 이전에는 신간회 해체 반대론이 우세하게 나타났다. 신문에서는 『조선일보』가 해소 반대론의 선봉에 섰으며, 안재홍이 신간회 해체를 반대하는 논설을 계속해서 발표하였다. 잡지에서는 삼천리가 신간회 신임 간부진의 정책 방침에 따라 ‘해소’론을 반대하는데 앞장섰다. 잡지사들의 설문조사결과 역시 신간회 ‘해소’ 반대론이 절대 다수를 차지하였다. 1931년 4월 이후에는 사회주의운동가들의 신간회 ‘해소’ 찬성론이 신문과 잡지에 본격적으로 소개되었다. 잡지사에서는 신간회 ‘해소’를 둘러싼 논쟁을 소개하기 위해 찬반 양측의 입장을 골고루 배치했다. 따라서 신간회 해체를 둘러싼 언론의 찬반논쟁은 이 시기 본격적으로 전개되었다고 할 수 있다. 그런데 신간회 ‘해소’를 찬성하는 견해는 여러 사람이 동원되어 논쟁에 참여하였는데, 신간회 해체 반대론은 안재홍만이 외롭게 참여하였다. 그러나 이 시기에도 여론 주도층을 대상으로 한 설문조사 결과를 보면, 신간회 해체 반대론이 찬성론보다 우세하게 나타나고 있다. 신간회 해체는 언론을 통한 지지 여론을 확보하지 못한 상황에서 준비성없이 성급하게 이루어진 일이었다. This paper deals with the pros and cons on the Shinganhoi’s deconstruction in media. The Shinganhoi was founded in 1927 as a representative Korean national organization. It was a national cooperative front in which both Korean nationalists and socialists took part for the Korean independent movement. However, after late 1930, a few of local groups of Shinganhoi started to assert that the Shinganhoi should be break down. Motivated by this, in media the pros and cons on the Shinganhoi’s deconstruction were developed actively. Before and after April 1931, the situation of debates on the Shinganhoi’s deconstruction was different. Before April 1931, the majority of opinion leaders opposed to the Shinganhoi’s deconstruction. They thought that the Shinganhoi had the leading power of national movement against Japanese colonial control yet. Especially they stressed the cooperation between nationalists and socialists. The newspaper in which a representative resistive nationalist, Ahn Jaehong wrote many articles against the Shinganhoi’s deconstruction, was Chosunilbo. And the monthly magazine against the Shinganhoi’s deconstruction was Samchulli. After April 1931, the socialists’ articles that the Shinganhoi’s deconstruction was necessary for the popular development of national movement, started to be published in newspapers and magazines. From this time, the pros and cons on the Shinganhoi’s deconstruction were developed realistic. In this period, many socialists who asserted the deconstruction took part in the debates. Among the nationalists who opposed to the deconstruction, only Ahn Jaehong took part in the debates. However, in this period, according to opinion poll by magazines, the cons were more prevalent than the pros of Shinganhoi’s deconstruction. To sum up, on the viewpoint of the Korean national movement, the Shinganhoi’s deconstruction by the part of socialists was the impatient, ineffective, and harmful movement that was not supported by opinion leaders in media.

홍명섭에 있어 조각 개념의 확장과 해체에 대한 연구

정효순 ( Hyo Soon Chung ) 한국영상미디어협회 2014 예술과 미디어 Vol.13 No.1

본 논문은 홍명섭에 있어 ``조각 개념의 확장과 해체에 대한 연구``로 그에 따른 작품을 분석하고 미술사적 관점에서의 미학적 쟁점과 기존의 작가적 위상을 새로이 조망하는데 목적이 있다. 홍명섭(1948)의 작품의 특징은 개념적 성격을 지니고 있지만, 개념미술가로 말하기에는 의문이 든다. 그의 작품속에는 다양한 실험적 성격이 보여지고 있기 때문이다. 홍명섭의 작품속에는 개념적 실험미술의 성격을 계속해서 ``차연differance``시키고 ``해체deconstruction``시키는 작품의 특징이 보여지고 있으며, 본 연구자는 이러한 특징이 보여지는 작업을 중심으로 작품을 분석하였다. 홍명섭은 작품창작과 저술활동을 병행한 작가로서 작가 스스로가 작품을 비평함으로써 그 자체가 연구 대상이라 할수 있다. 이러한 특성으로 인해 작가의 저술글 속에는 미학과 철학적 성격이 보여지고 있으며, 본 논문은 그의 작업중 구조주의에서 후기구조주의로 가는 이행 과정중의 데리다Jacques Derriad의 차연과 해체, 후기구조주의에서의 바르트Roland Barthes의 텍스트의``즐김jouissance``과 ``즐거움Le Plaisir`` 현상이 보여지고 있는 작품을 중심으로 연구 하였다. 또한 홍명섭의 작품의 분석에 있어 포스트모던 철학비평의 선구자들인 데리다와 아르토 Antonin Artaud를 통한 텍스트의 즐김과 해체, 바타이유George Bataille의 쾌락의 개념을 통해 작품 분석에 깊이를 더하고자 하였다. 본 연구자는 이러한 생각을 바탕으로 다음과 같이 홍명섭의 작품에 있어 작품의 위치와 미술사적 성격으로서 작가의 위상을 미학적, 비평적, 작업적 성향으로 분류하여 결론 지었다. 1. 홍명섭 작가의 미학적 쟁점: 데리다 차연 differance과 해체deconstruction,바르트의 텍스트의 즐김jouissance, 즐거움Le Plaisir2. 개념미술과의 차이: 감각과 시간성을 통해 개념미술의 한계를 넘어서기3. 포스트모더니즘과 홍명섭: 포스트모더니즘 메타비평을 통한 실험 작가홍명섭의 작품은 조각의 개념적 실험미술의 변종적 성격을 지닌다. 그의 작품에는 데리다의 차연과 해체주의, 바르트의 즐김jouissance, 즐거움Le Plaisir, 포스트모던 철학비평에서 바타이유의 즐거움(쾌락)이 보여지고 있으며, 그러한 미학적 점목을 통해 조각의 확장적 성격을 보여주고 있다. 홍명섭은 조각의 확장 영역을 개념적 실험미술을 통해 변이시킨 일종의 퍼포먼스의 변종이라고 보아야 할것이다. 단지 그것이 행위가 아닌 다양한 오브제와 실험적 작품으로 보여지고 있을 뿐이다. 홍명섭에 있어 조각 개념의 확장과 해체에 대한 연구 85그의 작품은 설치적 측면이 강하나 조각의 기본적 아우라가 계속해서 깔려 있다. 즉 홍명섭은 초창기의 조각의 기본적 시작을 중심으로 뒤샹의 개념의 의미를 보여주고, 시간이 지남에 따라 개념적 실험미술로 조각의 확장을 펼쳐 나가며, 이러한 조각의 개념적 확장을 데리다의 차연과 해체를 통해 진행중으로 보여주고 있는 것이다. 진행중인 작업은 관람객을 자신의 작품과 상호소통의 주체로 선정하고 관람객을 통한 또 다른 알레고리적 해석을 끊임없이 열어주며, 이를 토대로작품이 완결되는 감각적 즉흥성을 계속해서 유발시킨다. 결과적으로 홍명섭은 조각의 개념적인 성격을 넘어서 그때그때 감각을 중시했다. 개념미술적 측면을 지니고 있었지만, 그 한계를 넘어서려는 비판의식을 가지고 있었고 그러한 비판의식은 조각 개념의 해체라는 과정을 야기시켰다. 결국 홍명섭에 있어 조각의 해체와 확장적 성격은 무한한 시간적 변화와 감각적 측면의확장으로 나아가기 위함이었다. 그러한 감각적 해석을 타자와의 관계를 통해 작가는 은유와 환유를 빌려 알레고리적 해석을 유발시킨다. 이러한 성격은 포스트모더니즘의 성격중 하나이기도 하다. 홍명섭의 작품에서 돌고 있는 해체와 반복성, 파편화, 사진으로 기록되어``시뮬라크르 simulacre``된 작품의 또 다른 해석의 여지인 차용의 선택은 홍명섭이 포스트모더니즘 비평의 시발점을 밟고 간 작가이며, 자신의 글속에``조각의 개념적 확장``과``후기구조주의 미학적 성격``을 빌여옴으로서 자신의 작업을 해체(탈구축)하고 있음을 알려주는 것이다. 비평적 성격으로서의 홍명섭은 메타비평(비평의 비평)을 통한 전위적 前衛的 실험작가로 보인다. 작품속에도 작품을 비평하는 글속에도 모두 하나의 공통점이 보이는데, 그것은 전복술과 비평의 글을 통한 끊임없는 연구자세이다. 하나의 개념에 속하지 않고 개념을 바탕으로 계속해서 메타비평을 하며, 선구적이고 실험적인 창작을 시도하는 작가이다. 그는 글을 통해서도 작품을 통해서도 포스트모더니즘적 비평의 성격을 계속해서 반영하여 전위적인 성격을 찾아 실험해 나간다. 또한 구조주의에서 후기구조주의로의 이행 과정 중 데리다의 차연과 해체, 후기구조주의에서의 바르트와 아르토를 통해``즐김``을 더욱 확장시켜 비평해 나가고, 바타이유를 통해 ``즐거움``을 해체시켜 나간다. 홍명섭에 대한 본 연구에 있어 작가의 의도와는 어느 정도 차이가 나는 부분도 있을 것이라 생각되지만, 이러한 다각도의 작품 분석과 새로운 작가적 위상에 대한 조망의 시도 또한 비평에 있어 중요한 일이라 생각하며 본 논문을 맺는다. This is the study on the conceptual expansion and deconstruction on Hong myung seop`s sculpture, analysing his artwork. The purpose of this study is to prospect the artistic phase and esthetic issue of artist Hong on the on a artistic point of view. Although Hong`s art consist of conceptual characters, because many of his work shows experimental qualities, it is too soon to conclude that he is a conceptual artist. Within his abstractive work, the stages of differance and deconstruction continuously appear. This study analyzes artist Hong`s artwork based on the two major keywords of his art; differance and deconstruction. Artist Hong is a unique type of artist who is both a creator and the writer. The fact that he critics his own work give enough reason to become the subject of many studies. However, due his personal characteristics, esthetic and philosophical aspects inhere in his writings. This study focus on his work of two major periods of his paradigm. One is the period between his pre structuralism and post-structuralism when he was well affected by Jacque Derriad`s differance and deconstruction. Second is the period of post-structuralism when he was influence by Roland Barthes`s jouissance and Le Plaisir of text. To add more weight to the study, the analysis was also based on the world pioneer of post modernism philosophic critics, Antonin artaud and Jacque Derriad`s jouissance and deconstruction and George Bataille`s pleasure. This study has concluded the artist Hong`s status and the position of his work into esthetic, critical and status categories. 1. Hong`s esthetic issue: Jacque Derriad`s differance and decon- struction and Roland Barthes`s jouissance and Le Plaisir of text. 2. Distinction to the conceptual art: go beyond the limitation of conceptual art though sense and time. 3. Hong myung seop and post-modernism; experimental artist with post-modernism metacritic Artist Hong`s sculpture consist of mutant character such as abstract experimental art. His art consist of following aspect; Jacque Derriad`s differance and deconstruction, Roland Barthes`s jouissance and Le Plaisir of text and George Bataille`s pleasure. By combining such aspects, Hong`s sculpture expands its nature beyond. It is the performance mutation which the sculpture has been expanded its limit by trying out many conceptual experiments. It is the performance which appears in many different object and experimental artwork. Artist Hong`s art has its fundamental aura as sculpture, although his work seems much more of an installation art. Hong starts his work as a basic sculpture while showing the concept of Duchamp, and as time passes, the sculpture expands to conceptual experiment art. Thus his work seems to continue while the concept continuously expands through Jacque Derriad`s differance and deconstruction. He claims the viewer to become the subject which his sculpture continuously communicate and open up many possibilities of analysis which the viewer can come up with. Such method keeps induces the sensual Improvisation which completes the sculpture. This study concludes that the artist Hong myung seop has emphasized the importance of sensuality each time beyond the conceptual characteristics of the sculpture. Although the artist consists of conceptual artistic side, he had the critical minds to expand beyond. The artist`s critical mind has resulted the deconstruction of sculptural concept. In the end, to artist Hong, the destruction and the expanding of sculpture is to reach the point of unlimited time change and the expansion of sensuality. Using the relation between his sculpture and the viewer, and metaphor and metonymy, the artist keeps trigger the fresh new allegory analysis. This is one of the distinctive characteristic of post-modernism. Differance, another method to analyze deconstruction, repetitions, fragmentation, replicated of his work. shows that Hong myung seop has been affected by post modernism critique and that he deconstruct his artwork by quoting “conceptual expansion of sculpture”, and “esthetic aspect of the post-structuralism” from his own words. Based on the critical characteristics, it is appeared that the artist Hong is avant garde experimental artist through metacritic (giving critique to given critique). His sculptures and his critiques have one thing in common. It is the endless research through subversivity and critique. Artist Hong myung seop is innovative and experimental artist who does no settle in one concept but keep proceeding with the metacritique based on current artistic concept. He reflects his post-modernism critical nature on his art and his words to experiment ways be become avant garde. Using Jacques Derrida`s differance and deconstruction from the period between prestructurism and post-structuralism, and Ronland Barthes and Antonin artaud from the period of post-structuralism, the artist Hong gave much expanded critique to jouissance. Also through George Bataille, Hong has carried on deconstructing Bataille`s Le Plaisir. Although the result might be different to the artist`s intention, this study ends with the importance of analyzing through many different perspective and rediscovering the artist`s status within critique.

현대 미술전시에서의 해체주의 연구

박정희 한국일러스아트학회 2007 조형미디어학 Vol.10 No.1

Since modern times, an art's exhibition has leaded the new creation of discourse with a change of art's conception. The aim of this study is to examine a modern art's deconstruction features and its potentialities and appropriateness disclose through philosophical data and case studies. In the latter half of the 20th century, while the circumstances of the postmodernism have come out and the existing values have begun to collapse in every field, through the switchover of thoughts, the necessity to recognize the existing concept's deconstruction is demanded. On the basis of this trend, in an art exhibition, the phenomenon in connection with its deconstruction is being watched with keen interest. In this research based in Derrida's deconstruction theory, I will study a characteristic of modern art's exhibition. the research order is as follows: First, through the historical research of literature, I have studied a paradigm shift of modern art's exhibition in connection with discussion in modernism and postmodernism. Second, I organized the theory of deconstruction generally, preceded the theoretical researches, and described the conceptions and the philosophical, social backgrounds being advocated by each thinker.Third, I have described the features related to the exhibition of the deconstruction art. I divided modern art's exhibition into types on the basis of the deconstruction's philosophic vocabularies and terms and analyzed it.Forth, I put in order the cases of the deconstruction art's exhibition, Especially, I extracted the properties in relation to deconstruction and studied them.Finally, I organized this research's results: I presented the meaning and the possibility of modern art's exihibition in connection with the deconstruction features of the modern art's exhibition. 근대 이후 미술전시는 미술개념의 변화를 병행하며 새로운 담론창출에 앞장서고 있다. 본 연구의 목적은 현대미술전시의 해체주의적 특성을 살피고 그것의 가능성과 타당성을 철학적 논거와 사례들을 통해 규명하는 것이다. 20세기 후반 탈모더니즘 현상이 나타나며 각 분야에서 기존의 가치가 무너지고, 기존개념을 해체시켜야 한다는 인식과 사고로 전환이 요구되었다. 이러한 흐름을 바탕으로 미술전시에서도 해체주의와 연관된 현상이 주목되고 있다. 이에 본고는 데리다의 해체주의적 이론에 근거하여 현대 미술전시의 특성을 고찰할 것이며 연구차례는 다음과 같다. 첫째, 문헌고증을 통해 현대미술전시의 패러다임 변화를 모더니즘과 포스트모더니즘의 담론과 관련하여 살펴보았다. 둘째, 해체주의적 이론을 서술하였다. 우선 해체의 이론적 고찰을 선행하고 각 사상가들이 주장하는 개념과 철학적·사회적 배경을 정리하였다. 셋째, 해체적 조형예술의 원리를 기술하였다. 해체의 철학적 어휘와 개념별 상관성에 근거하여 현대미술전시를 유형화시키고 분석하였다. 넷째, 해체적 미술전시의 사례를 정리하였다. 특히 해체주의에 관련한 특성을 추출하여 고찰하였다. 마지막으로 본고의 성과를 정리한 것으로 해체주의 특성에 현대미술 전시의 의미와 가능성을 제시하였다.

论当前汉语词义的解构现象

魏慧萍 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.35

In current Chinese, the changes of ideas caused by the social reality and the changes of life caused by new media revolution have been intertwined, and been presented by a rich deconstruction phenomenon occurred in the field of words meaning. Deconstruction means that the original meaning of the concept is broken, the old meaning scope is deconstructed gradually ( not disappear) and the new meaning is accumulated continuously. Social mainstream thought, pop culture, the factors from people(as language’s host)and language development are leading to the meaning’s deconstruction. The current deconstruction of Chinese words meaning has two kinds of forms: explicit form and intrinsic form. It can come from the rationale of logical reasoning, language game, self-mockery or ridicule others, court jester as well. Meaning’s deconstruction doesn’t mean simple destruction or subversion, but aims at meaningful reconstruction. In fact, the significance of deconstruction and reconstruction are actually two aspects of the same phenomenon. During the past decade, under the leadership of Chinese civil power, a lot of deconstructions of the words meaning appeared in Chinese language, which shows that common people intend to grasp the right to speak more. We can see that it also currently affected China’s mainstream thought or trend. This observation comes from the perspective of deconstruction and towards the newest development of the Chinese words meaning, the purpose is to research on the trends of living Chinese language better in our new media age.

‘유럽’의 해체 - 데리다의 『다른 곶』 (L’Autre Cap)을 중심으로

김정현(Kim Jung hyun) 대한철학회 2015 哲學硏究 Vol.133 No.-

데리다의 전 작업은 유럽중심주의에 대한 비판 활동으로 규정될 수 있다. 서구 형이상학을 해체함으로써 음성 중심주의, 로고스 중심주의 등에 균열을 내려고 했던 작업은 유럽중심주의에 대한 비판적 의식 하에서 진행되고, 그리로 수렴된다. 초기의 해체가 이론이나 개념 체계를 매개로 현실에 개입했다면, 후기의 해체는 보다 직접적으로 현실에 관여했다고 할 수 있다.‘유럽’의 해체를 시도하는 『다른 곶』은 그 제목에서 해체의 내용과 방향을 표시한다. 데리다는 발레리(가 대표하는 유럽인)의 유럽 담론에서 유럽의 지리적 표상으로, 유럽의 본질로 등장하는 ‘곶’의 의미를 실마리 삼아 한편으로는 기존의 곶 담론을 계승하면서, 다른 한편으로 그것을 해체하여 새로운 유럽의 정체성을 제시하고자 한다. 해체가 기존의 담론, 텍스트를 매개로 이루어진다는 것은 양면적 평가를 요한다. 해체가, 자신이 해체하려는 담론의 논리와 문법에 어떤 식으로든 연루될 것이라는 혐의를 피하기는 어렵다. 이러한 의혹에도 불구하고, 해체는 분명 전통이 된 담론의 논리와 문법을 흔든다. 유럽의 갱신을 지향하는 데리다의 해체는 자신의 전통 속에 담긴 자문화중심성에 균열을 냄으로써 유럽을 타자를 향해 개방시킨다. 비유럽은 그러한 작업의 성과 위에서 유럽과 보다 평등하게 조우할 수 있을 것이다. 그런 점에서 유럽의 해체가 유럽에 대한 또 다른 방식의 긍정일 수 있다하더라도, 그 작업의 의의를 폄하하기는 어렵다. The whole works of Derrida can be characterized as a criticism on Eurocentrism. His philosophical activities that have been tried to rupture phonocentrism, logocentrism by deconstructing Western metaphysics were proceeded under the critical consciousness of Eurocentrism and converged into it. L’Autre Cap, which makes an attempt to deconstruct the idea of Europe, indicate the content and direction of deconstruction in its own title. Derrida endeavors to suggest a new identity of Europe by inheriting the discourse of cape which is at once a geographical figure and an metaphor for European essence deconstructively. The fact that deconstruction is proceeded through the medium of established discourse, or text requires a complex estimation. It is not easy for deconstruction to escape from being suspected of involvement on the logic and the grammar of existing discourses which are the objects of deconstruction. Even though such a doubt on deconstruction exists, it is obvious that deconstruction has an effect of rupturing existing structures, or schemes. Deconstruction, which expects itself to renew Europe, makes her open to the other, non-Europe by oscillating Eurocentrism. Non-Europe could meet Europe more equally than before on the outcome of deconstruction. For this reason, it is difficult to depreciate the significances of deconstruction.

사건과 해체

이은주(Eun-Joo Lee) 연세대학교 신과대학(연합신학대학원) 2012 신학논단 Vol.68 No.-

This paper gives an analytic account of John D. Caputo’s theological hermeneutics on ‘event,’ which defines postmodern theology as the theology of event in a radical way. John D. Caputo is known as a Derridean theologian working on postmodern deconstructive theology. Postmodern thinkers have developed various ways of hermeneutics on the eventiality of event in place of modern metaphysical meta-narratives, and they try to reconstruct the philosophy (theology) of event in light of simulacre, possibility, alterity, poetics, excess, and deconstruction. John D. Caputo, adopting the productive results of postmodern account of event, attempts to systematize it in the direction of deconstructive hermeneutics of event. Also he suggests a theological necessity to revise traditional strong theology in relation to the theology of event. This paper can be divided into three parts: first, the paper explains Caputo’s hermeneutics of event with respect to its relation with the divine name. Second, the paper draws on Caputo’s notions of the evential characteristics asking how Caputo theologically develops Derrida’s diffe?rance and ‘weak theology.’ In this part the paper also displays a political-ethical implication of Caputo’s deconstructive hermeneutics of event. Third, under the title of ‘the impossible and poetics’ the paper shows how Caputo relates deconstructive event to the divine Kingdom in that events bring the impossible into the world as a messenger of Kingdom, and it deals with the reason to take theo-poetics instead of theo-logics since he sees it as a most appropriate way to express the alterity of the Kingdom. This paper gives an analytic account of John D. Caputo’s theological hermeneutics on ‘event,’ which defines postmodern theology as the theology of event in a radical way. John D. Caputo is known as a Derridean theologian working on postmodern deconstructive theology. Postmodern thinkers have developed various ways of hermeneutics on the eventiality of event in place of modern metaphysical meta-narratives, and they try to reconstruct the philosophy (theology) of event in light of simulacre, possibility, alterity, poetics, excess, and deconstruction. John D. Caputo, adopting the productive results of postmodern account of event, attempts to systematize it in the direction of deconstructive hermeneutics of event. Also he suggests a theological necessity to revise traditional strong theology in relation to the theology of event. This paper can be divided into three parts: first, the paper explains Caputo’s hermeneutics of event with respect to its relation with the divine name. Second, the paper draws on Caputo’s notions of the evential characteristics asking how Caputo theologically develops Derrida’s diffe?rance and ‘weak theology.’ In this part the paper also displays a political-ethical implication of Caputo’s deconstructive hermeneutics of event. Third, under the title of ‘the impossible and poetics’ the paper shows how Caputo relates deconstructive event to the divine Kingdom in that events bring the impossible into the world as a messenger of Kingdom, and it deals with the reason to take theo-poetics instead of theo-logics since he sees it as a most appropriate way to express the alterity of the Kingdom.

한국 현대춤에 나타난 해체주의적 특성에 관한 연구 - 제 8회 평론가가 뽑은 젊은 무용가 초청공연을 중심으로-

박나훈 한국무용예술학회 2009 무용예술학연구 Vol.27 No.-

This paper looked into Jacques Derrida, the founder of Deconstruction, the study of concept, the study on "Invitational Performance of Young Dancers by Critics" and the intrinsic attributes of deconstruction in the performance. Furthermore, it presented a couple of propositions on the accommodation, of deconstruction. The research investigated how the concepts of intertextuality, differance and decentering and destruction by Jacques Derrida were unfolded in the dance according to the types of choreography. The findings are as such: In terms of intertextuality, other genres and foreign dance trends are combined. The attributes of differance was in the creation of virtual space and the distortion and expansion of time and space. The decentering of deconstruction was revealed in the encounter with theatrical art, the destruction of the existing orders through collage, the repetition of motions and the borrowing of everyday movements, and the shift of interest from the existing formal dance to peripherals. Lastly, the attributes of destruction was in the new visual approach of modern reinterpretation through the destruction of traditional dance and originals; an attempt to switch from a non-verbal language to the use of language and words; the use of regular lights; and the replacement of silence with the 30-minute dancing performance. Through the Invitational Performance of Young Dancers by Critics, such attributes as the destruction of the existing choreography and the presentation of a new meaning to the stage were disclosed. As such, the attributes of deconstruction on the existing ways for the sake of the change of theatrical aesthetics have the limitations in terms of its accommodation. First, the integration of analytical and independent mode. Second, a deeper study on the prototype of our dance is needed. Third, to nurture an subjective attitude through the existing sensuous training. In conclusion, this paper has its significance in that it aimed to broaden the horizon of dance aesthetics with an independent perspective beyond indiscreet acceptance of deconstruction.

Postmodern-Feminism and Deconstruction in the 1990s Fashion Designs

Koo, In-Sook The Costume Culture Association Department of Clot 1998 Fashion, industry and education Vol.1 No.1

This study aims at grasping the differences between Modern Feminism and Postmodern Feminism, pursuing the deconstructive strategies of Postmodern Feminism and reviewing the expressive characteristics and the intrinsic meanings of the deconstruction in the 1990s fashion designs. Postmodern feminists have attempted spotaneous deconstruction by revealing the falsehood of absoluteness and totality, centrality in truth, rules, and the way of life in Modernism. They have perceived that the 'other' concept of women was the result of social structure on the pretense of rationalism and tried to deconstruct the 'other' concept of women and raise the others who were ignored in modern society. The basic concepts of Deconstruction by Derrida are 'Differance' and Dissemination' which lead to Open Thought, Pluralism. Application of Deconstruction in fashion is divided into two featrues ; intrinsic meanings and expressive characteristics. Intrinsic deconstruction implies destructure and decenterality, undeciability of meanings, intertexuality. The expressive characteristics repreent 1) Disclosural. 2) Deconstructive. 3) Poverty. 4) Analytical & restructural expression. In conclusion, Deconstruction in not meant to pursue to partial changes in fashion designs, but to create new aesthetics by the change of emotion in fashion. This can be considered to be a kind of new Humanism movement. The destructure and decenterality should be accompanied by Pluralism that phenomena create Multiculturalism and will last until the year 2000 as we freely try to find our identity in Multiculturalism.

청소년의 자살생각과 관련된 우울, 인지적 와해 및 친구지지 간의 관계 분석

정영주,정영숙 한국심리학회 산하 한국발달심리학회 2007 한국심리학회지 발달 Vol.20 No.1

The main purpose of this study was to test two possible paths from depression to suicidal ideation in adolescents. One is a direct path from depression to suicidal ideation, and the other is indirect path from depression through cognitive deconstruction to suicidal ideation. The second purpose is to examine the moderating effect of perceived support from friend as a protective factor against suicidal ideation. The data was gathered from 329 adolescents attending senior high schools in Ulsan and Pusan. In path analysis using with SPSS 12.0, we found the direct and indirect influence of depression on suicidal ideation and the indirect influence of depression on suicidal ideation via cognitive deconstruction. The direct effect of depression on suicidal ideation was more stronger than indirect effect. The direct influence of cognitive deconstruction on suicidal ideation was also significant. In testing the moderating effect of perceived support from friend, it was found that perceived support from friend moderated the negative effect of depression on cognitive deconstruction. but did not moderate the negative effect of cognitive deconstruction on suicidal ideation. In additional multiple regression based on six functions of friend's support, intimacy was negatively related with depression, helping was negatively related with cognitive deconstruction, and trust was negatively related with suicidal ideation. It suggests that enhanced perceived support from friend can play as a protective factor for suicidal ideation in adolescents. 본 연구는 우울과 인지적 와해가 청소년의 자살생각에 이르는 경로분석을 통해 자살생각과 관련된 두 변인의 상대적 영향력을 살펴보았다. 아울러 이 경로에서 친구지지가 인지적 와해나 자살생각에 영향을 주는 중재역할 여부를 확인함으로써 자살을 예방할 수 있는 보호요인으로서 친구지지의 가능성을 살펴보았다. 울산과 부산의 고등학교 2학년 329명을 대상으로 우울, 인지적 와해, 친구지지, 및 자살생각을 측정하여, 우울에서 자살생각에 이르는 과정의 경로분석을 하였다. 분석 결과, 우울이 자살생각에 직접적으로 영향을 주는 경로도 유의하였고, 우울이 인지적 와해를 통해 간접적으로 영향을 주는 경로도 유의하였다. 우울은 자살생각에 영향을 미치는 가장 강력한 변인으로, 인지적 와해는 자살생각에 영향을 주는 매개변인으로 확인되었다. 친구지지의 중재역할을 살펴본 결과, 우울이 높은 집단에서는 친구지지 정도에 따라 인지적 와해가 달라졌으나, 우울이 낮은 집단에서는 친구지지에 따라 인지적 와해의 차이가 없었다. 친구지지는 인지적 와해에서 자살생각에 이르는 과정에서는 유의한 영향을 미치지 않는 것으로 나타났다. 친구지지의 하위 기능에서는 친밀함은 우울과, 도움은 인지적 와해와, 그리고 신뢰는 자살생각과 관련 있는 것으로 나타났다.